TV OB-DOC OBSERVATIONS

Of all the documentary genres I am particularly drawn to is the art and craft of observational documentary.  The elements of immediacy and surprise during the filming process can be exhilarating. 

I appreciate that there are many ways to approach ob-doc storytelling, and I certainly don’t have all the answers, but I thought I’d share some thoughts on how I go about it.

Observational Documentary definition:   The filmmaker observing truth by letting the camera capture its subjects uninterrupted. The effect is a documentary that tends to show, not tell, and invites each viewer to draw his or her own conclusions.

For better or worse the television ob-doc rarely qualifies for this above definition.  These days most ob-docs are accompanied with some or all of the following: 

On the fly interviews

Master interviews

Narration

Music

In my opinion the main reason for this evolution of form is because it’s very time consuming, difficult & risky for a TV network to create an ob-doc in its purest form.  

The time needed for a story to unfold naturally is very hard to predict which makes the production very difficult to plan and budget for.  Over the years these other storytelling tools have been introduced to improve on the limitations imposed by the ‘pure’ ob-doc form.   Some might also argue that these new tools make ob-doc more entertaining.

However, I strongly believe that the best TV ob-docs are the ones that are still mostly made up of powerful ‘observational’ moments, and the more of these moments you have the better the production will be.  In the world of TV production these moments are commonly referred to as ‘actuality’. 

So for me the big question is:  

How do we capture heaps of amazing actuality in a limited time frame?  

This article is my attempt to answer it.

When working on TV Ob-Docs you can often find yourself working solo, needing to both produce the on screen talent and simultaneously operate the camera and record sound.  In the TV industry this role is known as a Shooter/Producer and my thoughts here are in reference to this role.  And before I start to try and answer this question I think context is important.  My experience in the field has strongly influenced how I think about TV ob-doc. 

Some recent credits:  

STRUGGLE STREET (Series 1&2) – SBS1

AMBULANCE AUSTRALIA (Series 2) – Ch10

BEHIND THE BLUE LINE – SBS1

AUSSIE GOLD HUNTERS (Series 1) – Discovery

AUSSIE LOBSTER MEN (Series 1,2,3) – Discovery, 7Mate

Whilst really smart pre-production decisions are crucial (perhaps something for another article) I am going to jump straight into production.  In my opinion this is the most challenging part of the process.

How do we create a truck load of awesome actuality?

I believe the best ob-doc storytelling is achieved when the on-screen subject feels free to be themselves on camera. Conversely, I believe what makes an unsuccesful ob-doc program is when the subjects are putting on a fa?ade and therefore not revealing their true character.  And I don’t just mean in their words but more importantly in their actions and behaviour.  Essentially, I believe the Shooter/Producer’s main role is to ensure the subject feels comfortable to be themselves.  If you can pull this off many of the challenges of creating ‘story’ will take care of itself.  But how do you do it?   

When discussing ob-doc there is usually a lot of emphasis placed on the building of ‘trust’ with your subject and there is good reason for this, it is crucial.

At the beginning of a new project I think its important to put aside for a moment that you are making a TV program and simply start building a genuine connection with your subject.    If you can develop sincere rapport and be someone that they like to spend time with you are well on your way.  Trust will come as result of an authentic relationship.

Communicating with your subject in a transparent and honest way is also key.  I find it is helpful to talk about the reasons why you want to tell their story and why you think its important.  Keeping the lines of communication open at all times will help you through any tough times ahead if they arise.

Roadblocks to success.

If you want to create an ob-doc loaded with heaps of amazing actuality your subject will need to interact (on-camera) with their friends, family and wider social network.   This means the next inevitable challenge is to also gain the trust of the people in this wider network.  And this is exactly where a lot of ob-doc stories fall over in my opinion.  

If the subjects friends and family are unwilling to be filmed on camera the story can very quickly turn into a single person narrating their own life. A story like this will be very light on actuality and the production will suffer immensely.   

The moments when your subject interacts with other people is where your ‘story’ lies and is ultimately the best way to reveal character.   It is these real interactions, and hopefully at times they are dramatic, that is the difference between an average ob-doc and an amazing ob-doc.    I have found that building the relationships with this wider network of people provides the biggest challenges in the process, particularly when dealing with sensitive subject matter.  But like all relationships they will need an investment of time and effort, so the more you put into them the better your story will become. 

The importance of time.

The subject and their wider social network will need time to get used to you and the camera being around.  Not necessarily to forget that you are there, but enough time for them to accept your presence as their new normal.  For example, the filming period for Struggle Street (SBS1 - Series 1 & 2) was approx 5-6 months.  This length of time was needed to ensure the people’s lives had enough time to change and evolve over a period of time, allowing for a real story to unfold.    But this amount of time also provided added benefits too, time to build strong relationships.  During the 5-6 month period I found that often the best and most ‘truthful’ footage was captured a couple of months into these relationships.  Eventually the subjects 'fa?ade' or 'act' drops and the true version of their character is revealed.  In my opinion this revelation is where you find the most interesting on-screen moments and stories.

Camera Technique.

Another term often used to describe ob-doc storytelling is ‘fly on the wall’.  The problem I find with this analogy is that it suggests the camera operator is not moving and just shooting the action from a static position.   I always try to get the ‘fly off the wall’ and get moving around the scene.   All locations may not facilitate a lot of movement but where possible I keep my feet moving while ensuring all the footage I shoot is usable in the edit.  As camera operator keeping the shot moving also creates a dynamic looking story and facilitates good coverage from multiple angles.  I also use a zoom lens so I can pick off closeups and wide shots without the need for a lens change.  (do you want to be changing lenses when something amazing happens?)

I find close proximity to the action is also important.  Apart from when filming wide shots I shoot within 1-5 metres of the action.  I believe this helps the viewer feel like they are a part of the action and brings them deeper into the story.   

Of most importance I follow my instincts and let the action in front of me dictate how best to shoot it.  As the camera operator I am the window to the audience so I try to make it interesting.

Sound issues.

My goal is to always put a radio microphone on every person in the scene.   Inevitably though you will find this is not always possible because there are either too many people or not enough time to do it, particularly in random real-life scenarios.   

Sometimes I get stuck with my main subject being the only person in the scene who is wearing a radio mic.    If I find myself in this situation I try and position myself and the camera away from the main subject and closer to the most vocal person or people in the scene.  This provides the top microphone on the camera a much better chance of capturing the audio of these people.  This scenario can be a tricky to manage but if you can’t hear someone clearly the scene and your story will suffer enormously.  

If I am aware in advance that my subject will be attending an event with a large number of people I may book a sound recordist to assist.

Enjoying the work and being enthusiastic.

I find that showing my subject and their wider network that I enjoy my work and are passionate about it is always of great service to the production.  My enthusiasm and positivity also helps build the subjects interest and engagement in the project.  Positivity is contagious so I try to keep it coming in good supply.

The wrap

Filming ob-doc provides a great opportunity to spend time amongst a diverse range of lifestyles in unfamiliar environments.    You get to see some fascinating places and meet some amazing people.   It can be very challenging job at times but is also extremely rewarding, particularly when you see your hard work paying dividends on screen.  

I find working in TV ob-doc to be a privilege and it's always exciting to not know which adventure is coming up next.  

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Thanks for taking the time to read this article.  If you have found it interesting please share some of your thoughts in the comments section.

?Here are some other web links about ob-docs that you might find interesting:

https://www.videomaker.com/article/c06/18423-six-primary-styles-of-documentary-production

https://www.sbs.com.au/blog/125959/t/Top-ten-observational-documentaries

https://nofilmschool.com/2015/09/nichols-6-modes-documentary-can-help-expand-your-storytelling

https://docsonscreens.com/tag/observational-documentaries/